Alexander “Lee” McQueen probably would’ve loved the macabre pomp and circumstance of his memorial service, held at St. Paul’s Cathedral in London on Sept. 20 last year.

There, 1,500 members of the fashion world mourned his death, after his suicide on Feb. 11, 2010, at just 40 years old. Editors, who had championed him since his humble beginnings in the East End as a young designer on welfare to someone who’s now being honored at tomorrow’s Met Ball, were there alongside his various muses — Daphne Guinnes, Kate Moss, Naomi Campbell and Sarah Jessica Parker — decadently dressed in all black.

A lone piper in full tartan regalia led the choir, before Bjork — wearing a McQueen ostrich feather dress and wings — performed a haunting rendition of “Gloomy Sunday,” which is also known as “the Hungarian suicide song.”

It was a gray day, as the mourners made their way up the stone steps of the 300-year-old cathedral. But partway through the service, a shaft of light broke the clouds and shined like a lighthouse beam through one of the elaborate stained glass windows. The cathedral was briefly illuminated, says a British fashion writer who was there. There were murmurs amongst the congregation, she tells The Post, because the incident was “so eerie . . . almost like a message from

McQueen himself.”

That was just the first in a series of incidents that have many in McQueen’s fashion circles convinced that the designer is still, in some way, with them.

People have mused that they felt his presence in and around the last two runway shows, says Kristin Knox, author of “Alexander McQueen: Genius of a Generation,” which was published just five months after McQueen’s death.

“I do think fashion people are naturally superstitious and definitely very spiritual, much more so than any other industry,” she says. “Any time someone in the innermost recesses of the fashion world passes away — especially someone with a godlike status and where the death concerned is a tragic one — will spawn tales of his followers, co-workers and friends claiming his spirit remains with him.”

In an interview with Harper’s Bazaar this month, Lady Gaga — who worked closely with the designer on her costumes — feeds the fire, claiming that her current single “Born This Way” was created by the spirit of McQueen.

“I think he’s up in heaven with fashion strings in his hands, ‘marionetting’ away, planning this whole thing,” Lady Gaga mused. She also claimed he’s now working through her.

“I think he planned the whole thing: Right after he died, I wrote ‘Born This Way.’”

Without her knowledge, Gaga’s record label moved up the release date for the single, to the day of the one-year anniversary of McQueen’s suicide.

“When I heard that, I knew he planned the whole damn thing. I didn’t even write the f- – – ing song. He did!”

Another tale is that of a crow who flew into the window of Sarah Burton’s studio some months after McQueen’s death, killing itself. Burton joined McQueen as an intern in 1996 and became his right-hand woman as the head of womenswear before taking over the design house after his death. Rumor has it the design team believed it was a message from McQueen in avian form: The designer loved to use feathers in his designs.

“I believe that the troubled Lee felt he was damned from the start, so he explored other forms of damnation throughout his work,” says Knox. “He was always very spiritual, but conscious of his homosexuality and lifestyle; he openly and aggressively rejected any sort of Christian or Catholic agenda.”

In fact, McQueen’s fall/winter 2007 collection was pagan-themed, she says, after the designer found out he was a descendant from a victim of the Salem witch trials.

“And nowhere is the heavily religious/spiritual element more present than in his final collection, the 16 pieces Lee left for Burton to complete and show in Paris immediately following his death,” adds Knox.

In all his collections there was an overriding sense of the macabre.

“In fact, I nearly titled the book ‘Alexander McQueen: Fashion’s Dark Knight,’ because he was just that. This inner darkness, that manifested itself in a myriad of themes from the darkly erotic (bondage, masks, gags, cross-dressing and androgyny) to the religious and spiritual (paganism and satanic imagery) was what set McQueen’s work apart from his peers.”

Veteran fashion journalist, Suzy Menkes remembered to her friend, The Daily Telegraph’s Hilary Alexander that McQueen’s last words to her were “Bones are beautiful.” He was describing his skeleton-inspired menswear collection shown in Paris shortly before his suicide.

Even Knox herself experienced a ghostly incident before receiving the commission to write the book: “I was in New York for Fashion Week in February,” she recalls, “when I heard the news about Lee’s passing. I felt strangely compelled to visit his store and pay my final respects.

“The atmosphere in the shop was beyond eerie, it was more like a tomb or a shrine than a store, which was deadly silent, with only 10 people allowed in at once. Candles were burning and people were weeping.”

The next morning Knox woke up to an e-mail from a publisher asking if she’d be willing to write a book about the designer.

“I couldn’t shake the feeling that somehow he had chosen, or at least approved me, to pen his tribute.”